If the purpose of miniature landscape is to create a cosmic view of our inner world, Hong Kong sculptor Lam Yau-sum's new works are the urban manifestation of that vision. An expert in working industrial materials, Lam creates landscape scenes with intertwining metal water pipes and old electrical components. Lam's trees and branches are made with never-ending curls and twists of the copper wires. The surface patina comes from oxidation of the copper in a touch of green and turquoise. Such natural process is perhaps most ironic as it takes place in an otherwise all artificial renderings.
The title Visible Green is best to describe the touch of green on the surface of Lam's sculpture. It is visible not only as a color but as reference to the various traditions in miniature landscape particularly the Chinese Penjing “tray landscape” or Japanese Saikei “planted landscape”. Both are important cultural heritage that transcends time, space and genres. One of the most intriguing aspects of miniature landscape is that, as a non-painting, it attains the essence of “spirit resonance”. While it represents the most highly praised principle and quality in early Chinese painting, spirit resonance can be found in calligraphy, sculpture, architecture and even literature! We can easily found it within Lam's works – the flowing branches (wires), a lone traveler admiring the scene in front, or a bridge connecting two realms.
In addition to a painter and sculptor, Lam Yau-sum is also a philosopher. In his landscape we see not only a scene; there are myriad metaphors, analogies and dialogues. If we merely assume the role of the onlooker, we risk missing out the true and most fascinating motives and narratives of Lam's work. Only when we take on his work as a painting, a building, a forest and an ecology that we can fully appreciate the mastery of this young artist.
Henry Au-yeung
August 2015